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7.40PM TUESDAY SEPTEMBER 29TH
IN TRIBUTE TO TOM NOONAN
WHAT HAPPENED WAS
4K RESTORATION
One of the most remarkable independent American films of all time, and the Winner of the Sundance Festival Jury Prize in 1994, What Happened Was began life as a stage play by actor Tom Noonan, perhaps best known for his extraordinary performance in the original Hannibal Lecter movie, Michael Mann’s Manhunter.
Sadly passing away this year as an actor Noonan had appeared in films as varied as Michael Cimino’s Heaven’s Gate, The Monster Squad, Jim Jarmusch’s Mystery Train, Last Action Hero, and Heat (also directed by Michael Mann). If there were any justice, however, we feel this screen adaptation of his play, also written, directed, and starring Noonan, should be the film he is best known for.
Taking place over the course of a single evening in a New York City apartment, two work colleagues embark on perhaps the most awkward and revealing date in cinema history. As the pair navigate the social expectations and emotional strains of a first date, something much more profound about modern loneliness is revealed in this starkly real, darkly humorous, and relentlessly probing film, which asks: who are we really on the inside?
Awkwardly mismatched timing, casual misunderstandings, and veiled dark confessions converge with expert direction and beautiful camerawork to create one of the most thrilling, emotionally resonant, and intriguing films in all of American cinema.
A key influence on legendary screenwriter-director Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Being John Malkovich, Adaptation, etc.), What Happened Was has been repeatedly exalted by Kaufman as his favourite film. He went so far as to cast Noonan in his films Synecdoche, New York and Anomalisa, and even penned an as-yet-unmade sequel for Netflix.
Deeply funny, unconventionally terrifying, strangely moving, and criminally underseen, don’t miss this rare chance to see it on the big screen.
8PM FRIDAY OCTOBER 9TH
TOM CRUISE SEASON
MARTIN SCORSESE'S
THE COLOUR OF MONEY
If we were gamblers, our bet would be that this is the year Tom Cruise wins his first competitive Oscar. But why has it taken so long? It can't be understated just how deep and broad Cruise's prowess as a movie star is, nor the exceptional quality of the creatives he has worked with. For our Tom Cruise season, we take a look at three different maverick directors' treatments of Maverick himself.
The first film in the season comes from master director Martin Scorsese (Taxi Driver, Raging Bull, Goodfellas, The Wolf of Wall Street, Killers of the Flower Moon). Considered by many to be one of the most underrated films in the great man's filmography, The Color of Money is a revisiting of a character that Hollywood great Paul Newman (Butch Cassidy and the Sundance Kid, The Sting, Cool Hand Luke, Cat on a Hot Tin Roof) played 25 years earlier in his career in the 1961 classic The Hustler.
Not a direct sequel, (and you don't need to have seen The Hustler), the film brings back "Fast Eddie" Felson, now a jaded pool pro who has sworn off the game entirely. Eddie stumbles upon a young, highly talented but extremely cocky pool player, Vincent (played by an electric Tom Cruise), and his partner, played by the excellent Mary Elizabeth Mastrantonio (The Abyss), who was nominated for an Oscar here. Eddie takes the pair under his wing to teach them the tricks of the hustling trade, but the uneasy trio soon starts to show cracks at the seams.
The first and only Oscar-winning role for Paul Newman, he is undeniably brilliant in the part. But it's the firecracker performance from Cruise that shows us the promise of the soon-to-be unparalleled movie star he would become, as well as the underappreciated actor he is. Filled with breathtaking cinematography from Fassbinder/Scorsese collaborator Michael Ballhaus (never has Scorsese's camera had such fun) and a score by Robbie Robertson of The Band, The Color of Money is undoubtedly THE key inspiration for the recent Josh Safdie / Timothée Chalamet film Marty Supreme, and the kind of kinetic drama that has only improved with age.
Powered not by sentiment but by the flawed human nature of its characters, The Color of Money is a joyful expression of two cinematic masters at the height of their talents, Newman and Scorsese, while simultaneously giving us an early glimpse of the extraordinary screen presence and raw energy that would come to define Tom Cruise. The direct lineage between this bombastic performance and the one featured in Alejandro González Iñárritu's 2026 film Digger couldn't be clearer.
8PM FRIDAY OCTOBER 16TH
YOUR MONSTER
Spooky season kicks off with some fun at WWC this year, with a film that is brave enough to ask the question: what if there WAS a monster hiding under your bed, and what if he was kinda’ f***able? The debut feature from director Caroline Lindy, Your Monster creates the sort of easy-going Millennial/Gen Z popcorn horror rom-com that pitches itself somewhere between Beauty & the Beast and Lena Dunham’s Girls.
When musical theatre actress Laura Franco, played by Scream franchise stalwart Melissa Barrera, finds herself dealing with the triple blow of cancer recovery, a split with her boyfriend and no job prospects, she takes refuge in her mother’s New York townhouse. There, she discovers that her long forgotten childhood monster in the closet is still in residence. Once she gets over the initial shock, Laura finds strength in her new companion and finds a way back to the stage.
Mixing genres with ease, Your Monster is an enjoyable comedy, romance and horror (with a few musical elements) that provides a smart take on how rage intersects with femininity, alongside its laughs and heartstring tugs.
A huge hit with audiences at London’s Sundance Film Festival and Dublin’s Horrorthon, critic Mark Kermode said:
“This is somewhere between A Monster Calls and The Substance, because it has the sort of psychological depth of the former, and the WTF! humour, ‘Where is this going?’ of the latter. I absolutely loved it… I loved the characters, I loved the use of songs, I loved the confidence of the writing and direction. It takes an old story and makes it new. It genuinely manages to get that balance between the dark and the light, the funny and the ghoulish, the frivolous and the profound… I can’t recommend this highly enough… it’s really well done, it’s got a very, very unpredictable spirit to it, it’s funny, it’s moving, it’s touching, it’s weird… it completely bowled me over.”
See it Friday, October 16th, for an early Halloween treat.
8PM FRIDAY OCTOBER 23RD
MYSTERY MOVIE NIGHT
SECRET MOVIE CLUB PRESENTS... 'DINING WITH THE DEVIL'
|| What is secret movie club? ||
Our "Secret Movie Club" project takes a movie you most likely haven't seen before (but will instantly love) and keeps the identity of the movie a secret, only revealing which film you are watching when the opening credits roll. The aim is to provide you with a brilliant forgotten or overlooked gem from cinema's past or present (or perhaps even a major, but lesser screened cult classic). Every time we do these events we get such phenomenal feedback from you guys. It's incredibly rewarding to have people say to us they had never even heard of the movie we screened for them, but that it is now instantly among their favourites!
|| Dining With The Devil ||
For this Halloween special we are showing something that couldn't be described as a horror movie but rather a devilishly funny, thought provoking hidden gem with a macabre sense of humour about meeting someone who could well turn out to be the most awful person you ever met. With its overlooked female director and cast featuring many a familiar face this film has only become more relevant since its initial release when it was criminally overlooked. Jet black humour, moments to make you squirm and plenty of food for thought about the world in which we live in it comes highly recommended as some pre-Halloween fun that offers a both a few gory thrills as well as a dose of enjoyable satire.
As ever the film will be kept a tantalising secret until the opening credits roll.
7.45PM TUESDAY OCTOBER 27TH
ROBERT ALTMAN'S IMAGES
Robert Altman was one of America's most influential directors and is almost single-handedly responsible for setting in motion a style that the likes of Paul Thomas Anderson, Richard Linklater, Alejandro González Iñárritu, Chloé Zhao and the Safdie Brothers would later directly ape. Right in the middle of the director's most critically acclaimed period, which would yield Americana classics like MASH*, McCabe & Mrs. Miller, The Long Goodbye and Nashville, Altman would take an unusual detour and create this rural British psychological horror film.
This outlier in Altman's prolific career follows children's author Cathryn (Susannah York – They Shoot Horses, Don't They?) who, after receiving a series of unsettling phone calls at her London flat, decides she needs some time away from the city. Her husband Hugh whisks her away to his remote cottage in the Irish countryside in the hope that she can return to working on her upcoming book. But the isolation seems only to heighten Cathryn's sense of unease, as the world around her begins to fragment and reality appears to shatter into a confusing series of hallucinations involving her former lovers. A relaxing weekend in the country it is not!
Lead actress York is brilliant as the sometimes terrified, often paranoid and frequently dissociated lead of the film, winning the Best Actress award at that year's Cannes Film Festival. York also co-wrote the script with Altman, creating a kaleidoscope of terror built around the central character's inner psyche. Rich in visual metaphor and thick with cinematic atmosphere, the film's disturbing, dream-like quality falls somewhere between Sam Peckinpah's Straw Dogs and Ingmar Bergman's Persona.
Despite sharing some DNA with other Altman explorations of troubled female psychology, like That Cold Day in the Park (1969) and 3 Women (1977), Images is a completely unique film in cinema history. The iconic cinematography of regular Altman collaborator Vilmos Zsigmond (the visual maestro behind Deliverance, Close Encounters of the Third Kind, The Deer Hunter, Heaven's Gate and Blow Out) gives Images its haunting and sometimes visceral look. Even the ever-reliable comfort food of a John Williams score (Indiana Jones, Star Wars, Jurassic Park, E.T., etc.) becomes a suitably unsettling, one-of-a-kind artifact, with additional 'sounds' from Stomu Yamash'ta (best known for his musical pieces featured in The Man Who Fell to Earth).
Psychologically and cinematically haunting and complex, this early-'70s puzzle-box movie is both chilling and fascinating. Daring, engaging and uncommon in its remote countryside-set horrors, Images is well worth experiencing on the big screen.
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